The opening cello solo, the night-speech of
plant and stone begins with a sense of simple beauty,
which lulls us into a false sense of security before launching
into an array of contemporary sounds, which challenge our
pre-conceptions about this instrument. There is emotion and
drama in this work, all in fewer than two minutes of music.
Already, Heim is asking questions of his listeners.

One would perhaps imagine that the dedication
of a work to the Dalai Lama would suggest a calm, still piece,
possibly suitable for meditation. Once again, in sö pa, Heim
challenges our perceptions. According to the composer’s website
(www.seanheim.com), “sö pa is a Tibetan word associated
with the ethic of virtue … its literal meaning is ‘able to
bear’ or ‘able to withstand’. But the word also carries a notion
of resolution”. It is this resolution that we hear in the opening
of this work for flute, cello and piano. The cello writing
comes straight out of the world of the previous piece, full
of drama and impact. There is a real sense of struggle here;
an emotional struggle against the forces of evil. There is
also an unquestionable sense of resolve which finally defeats
its unseen opponent, relaxing into focused calm and tranquillity
in the closing sections [4:55]. Played with conviction and
energy, this performance captures the spirit of Heim’s message
admirably.

In the Between is a more substantial
work for piano solo, comprising six short movements and once
again drawing on Tibetan philosophy. Making intelligent use
of the instrument, the piece is full of contemporary sounds
which extend the emotional range. The music here is highly
atmospheric and full of contrasts, from the dark rumblings
at the beginning of the third movement to the simple beauty
of the final movement. The opening makes use of the piano’s
percussive elements, and is reminiscent of ethnic sounds. Strongly
rhythmic, this contrasts with other works on the CD. The second
movement uses the inside of the piano to create a different
atmosphere, this time depicting meditative stability. Vicki
Ray’s playing is engaging, taking us on a well thought out
journey of sounds and experiences. She demonstrates a real
affinity with the music and conveys the emotions well. This
is a very strong performance which is full of light and shade
and unquestionably captures the essence of Heim’s music.

This is followed by a 12 minute violin solo, Welcome
to the Crash-site of Unrequited Love, performed here
by Mark Menzies. Taking its melodic basis from an Irish folk
song (She moved through the fair), this is a set of
variations (distillations, as the composer calls them) using
an array of influences to filter the tune in different directions.
By now used to the contemporary techniques that are so much
of Heim’s language, used purely for their expressive qualities
rather than merely for effect, it comes as no surprise that
the opening of this work is explosive and makes use of unconventional
sounds. There are fragments of the folk tune throughout,
although one would be hard-pushed to construct the tune in
its entirety from this piece. The playing here is highly
skilled; Menzies achieves a sense of traditional Irish fiddle
playing, but within the context of a contemporary work. As
a result, the Irish element is continuously present, without
the need to patronise the audience. This is inspired work.

In contrast, Stillness of a Kiss is an
exploration of the emotions and atmospheres within a single
moment, and demonstrates a very different side to Heim’s writing.
Long notes build increasing intensity before one instrument
at a time breaks off to explore a melodic idea. This is music
which draws the listener in and forces them to listen, and
to concentrate. Like the rest of this CD, it is thought-provoking
and emotionally charged.

Blood Money, for bass clarinet, is
heard over the drone of an electronic sruti box. Heim’s writing
is well suited to the sonorities of the bass clarinet, and
this performance by Marty Walker is again convincing. The final
multiphonic is particularly charged, bringing the work to an
intense end.

The final work on this disc is Jupiter, the
moon and myself…, a set of four songs depicting nature,
taken from different cultural backgrounds. Scored for a quartet
of flute, violin, piano and soprano, the opening is perhaps
more harmonically simple than we have become accustomed to
on this disc, with octaves a regular sound in the first movement,
perhaps as a practical consideration to accommodate the use
of voice. These songs are full of colour, with the instruments
used for their differences of tone as well as to blend. The
singing is uncomplicated and emotive. The material becomes
more diverse as the movements progress, with the second movement
reminiscent, at least in part, of Pierrot Lunaire.

This disc demonstrates why the California EAR
Unit has gained a reputation as a world leader in contemporary
music performance. The performance of each piece on this recording
communicates to its audience, always leaving us in no doubt
that the players have a true understanding and belief in the
music they are playing. Contemporary music may not always be
enjoyed by the general public, but it is performances like
these, full of conviction, that give audiences the chance to
discover its emotional impact.

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